Строй гитар limp bizkit
Различные варианты настройки 
гитары
Различные варианты настройки гитары.Многие начинающие гитаристы даже и не подозревают, что гитару можно настраивать не только в «стандартный строй», а и по-другому. Думаете зачем существует такое количество струн разного калибра и комбинаций? Вот-вот, именно для разной настройки гитары.
В чем смысл и зачем это нужно, спросите вы? А дело в том, что разные стили музыки требуют разного характера звучания и тембрального окраса, некоторые песни не возможно сыграть в «классическом строе», а еще и для того, чтобы было удобно петь.
Перечислим самые распространенные варианты настройки гитары:
Стандартный строй гитар.Стандартный (E-B-G-D-A-E) — это самый простой и известный гитарный строй.
Он используется в 90% музыкальных жанрах.
Пример групп, которые чаще его используют: Metallica, Blink 182, AC/DC, Deep Purple, Queen, Red Hot Chili Preppers, Bon Jovi, Scorpions, Ария. и многие другие жанры, потому что эту настройку знают все!
Стандартный строй гитары
Пониженные гитарные строи.Альтернативные гитарные строи.
Попробуйте настроить гитару на полтона или даже на тон ниже и вы сразу почувствуете разницу в звуке.
Для того чтобы настроить на тон ниже по тюнеру следует выполнить такую последовательность с первой по шестую струны (D-A-F-C-G-D).
Для настройки на полтона ниже тоже самое, только на тюнере будет ещё отображаться знак диеза (D#-A#-F#-C#-G#-D#).
Альтернативный гитарный строй на полтона нижеПониженный гитарный строй на один тон ниже
Зачем нужны толстые струны и струны жесткого натяжения?
Вот как раз-таки и затем, чтобы ваша гитара звучала красиво в альтернативном, не стандартном строе. Следует знать, что если стоят струны умеренного натяжения, такие, например как 11-52, то при понижении их на тон они не только будут легче зажиматься, но и терять объём звучания.
Из этого следует многим известное правило — чем тоньше струны, тем ярче звук и их легче зажимать, но меньше басов и наоборот, чем толще струны, тем их сложнее прижать, но звук будет более богатым и насыщенным.
Наверняка вы слышали, как звучит гитара в джазе. Так вот, джазовые гитаристы ставят толстые струны, но при этом используют классический строй, поэтому их звук такой плотный, мягкий и не звонкий, даже можно сказать приглушённый.
Возьмём к примеру соло-гитаристов, Джо Сатриани, Стив Вей, Ингви Мальмстин. Наверняка вы замечали, как их пальцы бегают по всему грифу, выполняют много различных гитарных приемов, бендов и т.п. Для такого жанра лучше подойдут струны легкого натяжения, калибров 8-38 или 9-42. Им не нужна плотность и объём, им нужна яркость и возможность легко и быстро выполнять приёмы гитарной игры.
Испанская гитара, а если точнее стиль фламенко, там наоборот повышают гитарный строй на полтона или просто ставят каподастр на первый лад. Звук становится загадочным, мелодичным и поэтому так легко узнаваемым.
Совет для обладателей двенадцатиструнных гитар
Кстати, есть несколько советов владельцам двенадцатиструнных гитар. Все у кого имеется такая гитара, довольно часто их мучает проблема с самой тонкой струной (шестой по счету), которая настраиваемся в ноту соль (G). Она слишком быстро лопается, одиночную струну мало где найти, а покупать новый комплект из-за одной струны получается накладно.
Что в таком случае делать?
Не спешите огорчаться и для вас есть выход!
Попробуйте всю свою гитару, полностью настроить на полтона или даже на тон ниже. Попробуйте! Вы заметите, что срок службы этой струны возрастёт в разы, да и прижимать струны станет легче. Несомненно, звук станет иным, но кто знает, может вам он понравится?
А теперь немного об электрогитарах.
Отдельный и долгий разговор про струны, точнее их размеры и варианты настройки обстоит с электрогитарами. Если вам импонирует музыкальный жанр, такой как метал, альтернатива и все производные от них, то струны лучше подбирать больших калибров и настраивать гитару в пониженных тонах. Вы заметите, что звук станет агрессивным, злым и будет соответствовать вашим ожиданиям.
Пониженный Ре или Drop D (E-B-G-D-A-D) — это когда шестая струна опускается на один тон ниже и соответствует ноте D. Удобен еще тем, что одним пальцем можно прижать две струны (6-ю и 5-ю) и получится квинта, которую как раз любят использовать такие исполнители как Rage Against The Machine, Deftones, Fall Out Boy, Evanescence, Linkin Park, Amatory.
Пониженный До диез или Dpor C# (D#-A#-F#-C#-G#-C#) — почти копия Drop D, только все струны опускаются на полтона ниже, а шестая струна на полтора тона.
Группы играющие в Drop C# — Limp Bizkit, Attack! Attack! Deftones, Staind.
Пониженный До или в простанародии Drop C (D-A-F-C-G-C) — довольно распространенный вид настройки гитары в жанре альтернативной и металкор музыки.
А есть что-нибудь интересное?
Для записи в студии в стиле кантри, поп-рок существует Нэшвилл строй (Nashville tuning) и даже созданы специальные для него струны.
Струны в таком комплекте в основном не имеют обмотки, ну кроме шестой, а настройка производится как у стандартного классического строя, только с маленькими нюансами.
Третья струна — нота соль (G), но на октаву выше или доступным языком соответствует прижатому третьему ладу первой струны.
Четвёртая струна — нота ре (D), но на октаву выше, звучит как вторая струна, прижатая на третьем ладу.
Пятая — нота ля (A), тоже выше на октаву.
И шестая — нота ми (E), тоже, как вы догадались на октаву выше и по звучанию одинакова как открытая первая струна.
Довольно-таки интересная очень настройка гитары применяется в качестве дабл трека на студии и даже не обязательно там. Если вы планируете играть вдвоём на акустических гитарах аккордами одни и те же партии, попробуйте такую настройку на одной из гитар. Гарантированно вы будете удивлены качеством звучания ваших песен.
В завершении хотелось бы сказать, что это только одна сотая часть из вариантов настройки гитары. Не бойтесь экспериментировать с настройкой гитары, пробовать разные натяжения и материалы струн, ведь музыка — это состояние души, эмоции, передаваемые музыкантом слушателю и зная это, вы сможете с точностью передать все нюансы композиции и вашего настроения.
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In-Depth Analysis of Guitars, Amps, and Effects Used by Limp Bizkit’s Wes Borland
\n Justin Beckner brings you the most detailed rundown of Borland’s gear!
\n \n \n \n \n \n \n JustinBeckner \n \n \n \n \n \n
The music industry is full of interesting characters, but Wes Borland is on a level of intrigue all his own. His technical prowess has often been dismissed and overshadowed, especially within the context of Limp Bizkit. Part of the intrigue around Wes is that he uses unusual gear and he doesn’t really like to talk about it as much as most guitarists. For this tech article, I wanted to dig deeper into his gear. For that, I reached out to a couple friends for help. I spoke with his guitar tech, Jeff “Kadaver” Thoreen as well as the gentleman who built his unique four-string guitars.
Guitars
Wes was using seven string guitars during the late ’90s, during the early days of Limp Bizkit – he used Ibanez exclusively from 1997 until 1999. Contrary to what Wikipedia might say, according to his tech, Jeff Thoreen, Wes used an Ibanez Universe for the recording of Limp Bizkit’s debut, \»Three Dollar Bill Y’all\». He used different 7-strings during those early tours when Limp Bizkit went out with Korn.
He had a couple custom Ibanez RGs – one of which had a piezo pickup. He also had a rare 7-string model – the Ibanez RG7 CST – only 18 were ever made – only two were sold in the USA, one was bought by Wes Borland. According to his tech, Jeff Thoreen, there is a common misconception about the way that Wes set up his seven string models,
\»…people think that he played 7 strings, as 7 strings. He didn’t. It was strung up as a 6 string, with a doubled high E just to fill the slot.\»
He currently does not own any Ibanez seven string guitars.
Wes was also famous for using several variations of a 4-string guitar that blurred the lines between a baritone and a guitar. First, Wes used an Ibanez Musician MC150PW modified to fit only four strings – that was used for \»Nookie\», \»Full Nelson\», and \»The One\». Following Wes’ newfound affinity for his modified four string, Ibanez made him a custom 4-string. He also got a few PRS guitars around that time – one of which was a 4-string, which he used for touring. Those guitars were not seen much after that tour. However, he does still own the PRS 4-string. Those were all overtaken by custom 4-string guitars made by master builder, George Gorodnitski.
While working on the \»Chocolate Starfish and the Hot Dog Flavored Water\» album, Borland turned to six-string guitars. The whole album was recorded with guitars, hand-made by master luthier, George Gorodnitski. Wes ordered three guitars for the album. The three Gorodnitski guitars included two, four string Cremonas, and one six string. Wes has referred to these guitars in a 2000 issue of Guitar World as, the best guitars he ever played.
I found the four string guitars so interesting that I got in contact with George Gorodnitski to discuss the guitars he made for Wes. They feature a neck-thru design with a flame maple neck and hand carved top. The body wings are Honduran Mahogany. The bridge and tailpiece were custom made of aluminum billet. The pickups were hand-wound humbuckers with Alnico 5 magnets. The guitar features a 26.5′ scale and the strings that came on the guitar were as follows: E — .030, B — .042, F — .052, F (an octave lower) — .080. This intriguing configuration was created by pulling strings from other guitar and bass string sets. I asked George how he ended up working with Wes, to which he replied,
\»Justin, as you, probably, know, I’m from Latvia. I had a very close friend there, Grisha Dimant, who came to Los Angeles a decade before me. He was a father of Leor Dimant, a.k.a. DJ Lethal (House of Pain, Limp Bizkit). So, around 1996, Leor brought a few guys, Wes and Sam, to my house, and asked me to build custom guitars for them. Sam chose my Basstard 5-strings. Wes ordered two 4-string Cremonas, and one 6-strings Cremona.\»
I asked George what sounds Wes was looking for in those four-string guitars,
\»He wanted a very dark, heavy sound, but transparent at the same time. It’s like playing bass with treble up. That’s why a longer scale was chosen. It added some brightness. Some people call this guitar a baritone. Nothing could be farther from truth. It’s an absolutely unique instrument. Wes gave it to PRS once, and they couldn’t reproduce this tone. So, he took it back, and he uses these guitars up to today.\»
Limp Bizkit parted ways with Borland in 2001 and he was absent from the recording of \»Results May Vary\» in 2003. Borland rejoined the band in 2004. In 2005, Yamaha approached Borland about a signature guitar. Borland took on the bulk of the designing duties and the resulting model was dubbed the CV820WB. It is a semi-hollow-body with split-field, high output humbuckers that Yamaha made exclusively for that guitar. The guitar also sported a Quick Change finger clamp locking tremolo, which is quite a unique tremolo system in that you don’t have to cut the ends off your strings. Wes loved the guitar – he used it for his Black Light Burns project and the tours leading up to the recording of Limp Bizkit’s \»Gold Cobra\». However, the guitars didn’t sell well in the market and it was discontinued in 2011. At that time, Wes switched to endorsing Jackson Guitars. Wes typically uses Rhodes models for touring. He also uses King V’s, and Warrior models.
As for specifics regarding guitar setup, I turned to Jeff Thoreen again, and asked what has to be done to a stock guitar before it hits the stage,
\»There’s a few things we gotta do to ‘Wes Proof’ the guitars. First thing is swap out the bridge pick up for a Seymour Duncan Invader. Then remove any nonessential electronics. I’ll yank all the guts, and put it back so it’s just the pickup to a volume pot, to the output. And I’ll move the volume knob (if it needs to be) to the lowest and furthest back hole position. Very important… I have to swap out the tremolo arm coupler on the Floyd Rose bridge, from the screw-on type to the push-in type. I’ll also swap the string blocks and locking screws on the bridge for titanium parts. Then I’ll put on new strings and set up the guitar for his gauges. Typical set up, action, neck adjustment, intonation. All the Jacksons take Ernie Ball Slinky’s…. .052, .042, .032, .022 wound, .014, .011 and tune to C# standard, or Dropped B. The 4 strings are .80 bass string, .42, .32, .22 wound, and is tuned to F#, F# (an octave apart), B, E. And last, we need to swap out the strap connectors with heavy duty eye bolts. All the straps have metal snap hook latches on the ends, that connect to the eye bolts on the guitars.\»
Over the years, Wes has also been seen using a 1976 Fender Starcaster, an ESP LTD V-401DX, and various Mayones Guitar models.
In 2003, Wes Borland was interviewed by our very own Steve Rosen for Ultimate-Guitar. In that interview, they chat about some of Wes’ early guitars. You can check that interview out here.
For Limp Bizkit’s first couple albums, Borland used Mesa-Boogie Dual and Triple Rectifier amps. After 2000, he started using them in conjunction with a Diezel VH4. In the years that followed, the Diezel became his main amp. In 2008, Wes played mainly Orange Amps (specifically the Thunderverb 100) with Black Light Burns and continued using them for Gold Cobra. Currently, he uses EVH amps and a Roland JC-120, blending dirty and clean tones, respectively.
According to Wes’ tech, he will often experiment in the studio,
\»There could be different amps in the studio, I know he uses Fender EVH or Orange (Dark Terror, Thunderverb). He has also been known to use Fender, Charvel, and Bilt guitars in the studio. For his other projects besides Limp Bizkit, he is like a mad scientist and using all kinds of stuff. He’s got a wall of pedals, and boats of guitars at his home studio.\»
Effects
Wes’ tech, Jeff Thoreen gives us a detailed rundown of Wes’ current pedal setup. He also recounts the tech nightmare incident in 2018 where Wes’ pedalboard got drenched when the ceiling collapsed during a show in England. Jeff recalled,
\»OH GOD. That was a brutal night!! That was at a rainy festival in England, and the roof couldn’t hold the water weight. There’s a YouTube video out there of it happening. You can see me walk out, I looked at the pedal board, it’s completely under 4-5 inches of water, I go back to my guitar world, and you can see me bury my face in my hands. hahaha Show was over!! The rig freaked out and started making all kinds of crazy sounds… every pedal on the board turned on, and was shorting out.
First thing I did was shut the rig down and kill power. I tipped the board upside down to drain as much water out as I could. Then I stripped EVERYTHING off the board and threw it in a box to take to the bus after load out. Once on the bus, me and the monitor guy (Thanks Joe!) took over the back lounge, and dissected every pedal and power supply, 18 components in total. We took apart very knob, screw, connector, and jack. I laid it all out so the circuit boards could at least air dry. We were in the middle of nowhere, and had a long overnight drive (with ferry crossing) from England to Frankfurt. So I didn’t have many options.
To add a kick in the nuts to the story… Our bus wouldn’t start at bus call, so we had to pack up all essential stuff for the day off and go ride on the band bus over night to the hotel in Frankfurt. So I had to pack up all the disassembled pedals (without losing any screws or knobs) and take it all to the band bus with me, so I could have it on the day off.
\»At my hotel, the next day, I spread it all out again and let it air dry in my room all day. We advanced extra contact cleaner for the next show day. I went in at 7am with the riggers and my box of parts, and got started cleaning every knob, jack, connection, and pc board on all those pedals and power supplies. Not to mention all the power cables, and jumper cables. I finished putting the board and all the pieces back to gather right at sound check time. Out of the 18 pieces, only 3 weren’t working correctly…. 1 Voodoo Labs Pedal Power, 1 Boss DD6, and I think the Dunlop Q-Zone. Luckily I had backups of 2 of them, and the 3rd wasn’t show dependent. Fortunately we didn’t have to cancel any shows.
\»That pedal board that I completely cleaned and rebuilt was totally destroyed in the Malibu fires, only a few months after the waterfall fiasco. I guess that board wasn’t meant to be.\»
To clear up any confusion about Wes Borland’s current live rig and signal path, I asked his tech to clarify his signal path.
\»Guitars: 2 Custom 4 strings, 5 Jackson guitars. Black Left Handed King V flipped to be right handed, Grey Jackson Warrior, 1981 White Jackson Rhoads (was Ross Robinson’s first guitar that he gave to Wes), a newer black Jackson Rhoads, and a burnt up Jackson Warrior
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Furman Rackmount Power Supply
Shure AD4D Wireless Receiver (Y cable out of both channels to single female 1/4”)
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Loom to Pedal Board
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Pedal Board: powered by Strymon Zuma and Zuma R300
Junction box —> Boss TU-3 Tuner —> Zvex LowFi Junky Looper —> In A OR B Switcher (currently Lehle)… here the signal splits, the right side of the pedal board is dirty channel effects, the left side is clean channel effects.
A Out —> Strymon Big Sky Reverb —> Ibanez CF7 Chorus/Flanger —> Maxon OD808 Overdrive —> Electro-Harmonix Q-Tron Envelope Filter —> Boss DD6 —> Boss DD6 —> Junction Box Out Clean
B Out —> Boss NS2 Noise Suppressor —> Dunlop Wha (I forget the model off the top of my head, generic one) —> Strymon El Capistan Tape Echo Delay —> Boss DD6 —> Boss DD6 —> Junction box Out Dirty
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Loom back to Amps
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Both Dirty and Clean lines go in Ebtech Hum Eliminator (Modded by myself to have bypass switches)
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Amps:
Ebtech H.E. Dirty Out —> Fender EVH Amp (100w, 50w, 15w… dependent on show logistics) —> Self made Series/Parrallel Speaker Line splitter —> 2 EVH 4×12 Cabinets, OR 1 EVH 4×12 and 1 VHT 6×12 (Open back 2×12 on top, closed 4×12 on bottom) in Europe.
Ebtech H.E. Clean Out —> Roland JC-120
There are 2 of each amp, main and a back up. The cabinets are stacked so the inside cabinet is on top of the JC120 case lid, and the outside cabinet is on the floor with the JC-120 on top.
And there have been different variations of the rigs, depending on fly dates and countries that have backline available. Sometimes we have a EVH 2×12, or Orange 4x12s. And pedals sometimes get switched out on the board. The rig listed above is the most recent conjuring.
There’s also an XLR line in the loom for his vocal mic.\»
Another thing – non-tech related that Limp Bizkit fans might not know is that at every show, there is a \»bar\» on stage left during the shows — The Whammy Bar. As Jeff explains it,
\»It’s got it’s own IG, @TheWhammyBar. We have an open stage for other bands and crew who want to come watch the show, and I’ll dish out vodka drinks and beers. I try to take pics when we have good guests there, friends, or some fun shit is going on at the Whammy Bar. I usually post it to that IG.\»
Jeff, himself, is a phenomenal photographer who travels the world, in addition to his guitar teching duties – you can check out his work at @kadaver13.
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